FOOTNOTES:
[1] The original title was spelled Uraguay. Later writers either retain the first or replace it with the more common u.
[2] Estudos. Segunda Serie, pp. 89-129.
[3] In Portuguese literature, as Verissimo points out in his interesting parallel between the two epics, it is no easy matter to indicate the exact line between classic and romantic styles. A Frenchman has even spoken of the romanticism of the classics, which is by no means merely a sample of Gallic paradox. The Brazilian critic considers France the only one of the neo-Latin literatures that may be said to possess a genuinely classic period. As I have tried to suggest here and elsewhere, we have need of a change in literary terminology; classic and romantic are hazy terms that should, in time, be supplanted by something more in consonance with the observations of modern psychology. The emphasis, I would say, should be shifted from the subject-matter and external aspects to the psychology of the writer and his intuitive approach. The distinctions have long since lost their significance and should therefore be replaced by a more adequate nomenclature.
[4] Long before Verissimo, Wolf (1863) had written in his pioneer work already referred to, “Thus José Basilio da Gama and Durão only prepared the way for Magalhães and Gonçalves Dias.”
[5] The natives named him Caramurú, whence the name of the epic. The word has been variously interpreted as signifying “dragon risen out of the sea” (Rocha Pitta) and “son of the thunder” (Durão’s own version), referring in the first instance to the man’s rescue from the wreck and in the second to his arquebuse. Verissimo rejects any such poetic interpretation and makes the topic food for fruitful observation. He considers the Brazilian savage, as any other, of rudimentary and scant imagination, incapable of lofty metaphorical flights. “The Indians, infinitely less poetic than the poets who were to sing them, called Diogo Alvares as they were in the habit of calling themselves, by the name of an animal, tree or something of the sort. They named him Caramurú, the name of a fish on their coast, because they caught him in the sea or coming out of it. And to this name they added nothing marvellous, as our active imagination has pictured.” And “this very sobriquet as well as the epoch in which it was applied, are still swathed in legend.”
[6] The light of her eyes is extinguished, she swoons and trembles; her face grows pale, her look is deathly; her hands, now strengthless, let go the rudder and she descends to the bottom of the briny waves. But returning from the depths to the waves of the sea, which quivers in fury, “Oh, cruel Diogo!” she said in grief. And unseen ever after, she was engulfed by the waters.
[7] How happy were the world, if, with the remembrance of love and glory lost, the recollection of pleasures would likewise be consumed forever! But worst and saddest grief of all is to find that at no time is this fantastic victory of love transitory, for always it is repeated in remembrance. Lovers, you who burn in this fire, flee Love’s venomous assault that it holds for you there in later days. Let not treacherous contentment deceive you; for this present pleasure, when it has passed, will remain as a tormenting memory.
[8] I gaze, comely Marilia, at your tresses; and I behold in your cheeks the jessamine and the rose; I see your beautiful eyes, your pearly teeth and your winsome features. He who created so perfect and entrancing a work, my fairest Marilia, likewise could make the sky and more, if more there be.
[9] Estudos. Segunda Serie, pp. 217-218.
[10] For Romero’s strenuous attempt to prove the Cartas the work of Alvarenga Peixoto, see his Historia, Volume I, pages 207-211.
[11] I loved the liberty and independence of my dear sweet fatherland, which the Portuguese pitilessly oppressed with laughter and scorn. This is my sole crime!
[12] The glory of the fatherland is wholly gone. The cry of liberty that once thundered through Brazil now is mute amidst chains and corpses. Over its ruins, far from their fatherland, weep its wandering sons. Because they loved it, they are accused of treason, by an infamous, truckling band.
CHAPTER IV
THE ROMANTIC TRANSFORMATION (1830-1870)
New Currents in Brazilian Poetry—Gonçalves de Magalhães, Gonçalves Dias, Alvarez de Azevedo, Castro Alves—Lesser Figures—Beginnings of the Brazilian Novel—Manoel de Macedo, José de Alencar, Taunay and Others—The Theatre.